Portland, Oregon dark rock trio HOAXED are gearing up for a summer tour in support of their recently released album, ‘Death Knocks,’ out now via Relapse. The band will join Black Tusk for a run of West Coast dates, kicking off July 31st in Santa Fe, NM at Desert Dogs. For a full list of dates, please see below.
On the upcoming tour, the band comments:
“Join HOAXED and Black Tusk for the hottest tour of the summer… ‘Death Knocks’ as we traverse the summer heat to share songs from our new album around the Southwest + PNW.”
HOAXED Live: Supporting Black Tusk
July 31st – Santa Fe, NM @ Desert Dogs August 1st – Mesa, AZ @ Rosetta Room August 2nd – San Diego, CA @ Tower Bar August 4th – Los Angeles, CA @ The Redwood August 5th – Palmdale, CA @ Transplants August 6th – Redding, CA @ The Dip August 7th – Portland, OR @ High Water August 8th – Vancouver, BC @ Cobalt August 9th – Seattle, WA @ Funhouse
HOAXED recently released their sophomore full-length album, ‘Death Knocks,’ via Relapse.
HOAXED recorded ‘Death Knocks’ at Falcon Recording Studios with producer and engineer Gabe Johnston (Unto Others, Vintersea) and enlisted Arthur Rizk (Power Trip, Kreator, and more) for mixing and mastering. The group spent eight days across February and March tracking the album. While many bands take months to refine their metallic mettle, HOAXED’s focused time at Falcon resulted in a polished, big-sounding force that matches the scale of their larger-than-life songs.
After more than 30 years, Tor-Helge Skei remains one of the most consistent and surprising talents in extreme music. A founding member of the critically acclaimed group Manes, the Norwegian mainstay, multi-instrumentalist and producer has pushed the boundaries of black metal and the avant-garde. Now, with his new collaborative project, Holissstik, he’s expanding his vision like never before.
Today, Skei is announcing Holissstik’s debut album Chapter 1: This Endless Solitude. The album is the first in a trilogy and arrives with a captivating music video for its genre-busting lead single. While full of regrets, “The Rhythm of Silence” speaks to the collective spirit that makes Holissstik such a unified force.
“Collaboration is the heart and soul of Holissstik”, Skei says. “The name comes from the Greek word Hólos, which, in English, is the root word for ‘whole’. The idea is that the music as a whole is greater than its individual contributions”.
“With Hollissstik, we’ve built something that transcends traditional metal by focusing on the ‘holos’ – the beauty of the complete, interconnected whole”, says Manes member Tor-Arne Helgesen, who contributes drums to “The Rhythm of Silence”.
Fellow Manes member Eivind Fjøseide, who contributes guitar to “The Rhythm of Silence”, agrees. “Skei and I have worked together on music for more than 30 years. Together, we have a special chemical musical reaction that makes things very exciting”.
As one could reasonably expect, This Endless Solitude began in 2024 with Tor-Helge Skei alone at his studio in Norway, revisiting unfinished songs from past projects. Over the following years, Skei salvaged bits and pieces while building new components from scratch using his curious collection of guitars, recording software and homemade plug-ins. But even though his approach to the production is hands-on, with Holissstik, he invited outside influences to take control.
“After I finished the initial sketches for these songs, I wanted to hear where other people would take with them without being given any rules, limitations or restrictions”, Skei says. “‘The Rhythm of Silence’ was the first song that we made as Holissstik, though the original idea has undergone many revisions, after years of consideration for Manes and Lethe albums. Now, it’s finally found a place as the guiding sign of what we wanted for this project and This Endless Solitude”.
Guided by collaborations with underground legends, rising stars and fellow members of Manes, Holissstik’s first chapter unfolds with surprising twists and turns right from the start. Lead single “The Rhythm of Silence” opens This Endless Solitude by slipping seamlessly between trip-hop, industrial rock and rap. While featured vocalists Martyna Halas (Rage of Light), Marita Hellem (Martyra, collaborator with Manes) and French MC Pierre “K-Rip” Ripka come from different scenes, together, they paint a living, breathing portrait of longing to be part of something greater than ourselves.
“Holissstik became my sanctuary, a place where my deepest, darkest and most intimate emotions could finally find release”, Halas says. “It’s fascinating how creators from different parts of the world express the same feeling through their own perspectives. Each holds a piece of the puzzle, moving toward a shared sense of wholeness. I’m deeply grateful to contribute a piece of my heart and soul to this unique project”.
“When I was asked to take part in Holissstik, I immediately felt it was an opportunity to do something new”, Hellem says. “It gave me the freedom to explore my voice in a more playful and open way. Moving into sounds and genres I haven’t worked with before was both inspiring and challenging”.
“To me, Holissstik represents what music can offer at its best: a blend of diverse influences and experiences that come together to create something completely new and impactful”, says Ripka, who’s worked with Tor-Helge on Lethe’s previous two albums. “As a French rapper, Holissstik is not the kind of project people would usually expect me to be part of and that’s exactly why I chose to do it! I’ve always placed meaning and emotion at the core of my music, and there’s nothing better than such a rich and powerful atmosphere to carry my most introspective lyrics”.
The video for “The Rhythm of Silence” was directed by Gornoss (@gornoss)and filmed at Le Moulin des Remparts in Saint-Mitre-les-Remparts, France.
Additional video credits Model – Ksenia Aba Makeup Artist – Sara Rodrigues
Tracklist
The Rhythm of Silence (7:06)
My Salvation (5:27)
Projections (3:20)
Obsession Six (6:26)
Reoccuring Dreams (6:31)
Would You Take This Heart (5:50)
Behind Me (4:48)
This Endless Solitude (6:34)
From the tireless genius Tor-Helge Skei, a radically innovative new force, Holissstik, has emerged. The latest project from the Norwegian mainstay, multi-instrumentalist and producer is his most expansive yet. While it dwells deep within the darkness of our lives, Chapter I:This Endless Solitude, the first chapter in a trilogy of albums, finds salvation through the spirit of collaboration.
“The inspiration for Holissstik comes from the Greek word Hólos, which is the root for the English word ‘whole’”, Skei says. “Collaboration is the heart and soul of this project. The idea is that each part cannot exist or be understood when separated from the whole. The sum is greater than its parts”.
As the driving force behind Trondheim’s legendary Manes, Skei quickly established himself in the ’90s as one of black metal’s key pioneers. With the release of Manes’ classic album Vilosophe (2003), the powerhouse then metamorphosed into an equally magnificent genre-defying entity. Over the years, Skei has only continued to build upon his legacy as an unsurpassed sonic adventurer. He’s received acclaim for his achievements with various outfits, including Lethe, his duo with ex-Eluveitie and Cellar Darling’s beloved songstress Anna Murphy; the international supergroup Høstsol; the veterans Atrox; the brutal metallers Manii and Syning; the wildly experimental Kkoagulaa and more.
Even for the absurdly ambitious Skei, Holissstik represents a Herculean feat. While Skei serves as Holissstik’s composer and captain, the project operates as a revolving door for top-notch talents from across the world. Holissstik’s art can only leave those fortunate enough to be touched by its unshakable audial spells in states of utter speechlessness. This vessel of change cannot be defined; for it rattles the foundations of all we think we know about music while also redefining itself, constantly venturing further out into unknown territories. Holissstik is more sinister than extreme metal and potentially more healing than any New Age practice; this is timeless music without any artistic limitations. As Skei’s longtime accomplice in Manes and award-winning filmmaker Torstein Parelius wrote, “Turn away from the boundaries you create”.
Holissstik truly came into being in 2024 when Skei resolutely decided to initiate the arduous alchemical process of producing order from chaos. Skei is an astoundingly prolific creator whose vast archive of used and unused recordings seems endless. Parelius has remarked that the material from Manes’ past tends to “haunt” the band insofar as it is frequently incorporated in the present. This applies to Skei’s other efforts as well, and, for Holissstik, the visionary meticulously labored on sketches dating a decade or more back, giving them new life, details and twists. Meanwhile, he crafted others from scratch. Eventually, Skei narrowed the selection for This Endless Solitude down to eight mostly instrumental compositions with samples and some old vocal fragments. These tracks already sounded complete and irreproachable in their own right. Each of these interconnected, maximally hypnotic, seamlessly flowing and sometimes mercurial gems emanated its own unique, indefinable brand of magic, far beyond comparison and yet stamped with Skei’s instantly recognizable trademark.
Then, Skei did the unthinkable. He took the leap of faith he had been planning on and invited a flood of collaborators — big names, rising stars and underground legends — to assert their creative freedom on This Endless Solitude by adding individualistic touches on vocals, lyrics and various instruments. “After sketching these songs, I asked my collaborators to do their own thing with them. The only hint that I gave was the music would use minor chords, be melancholic and introspective and that the lyrics would be concerned with the darker side of life and death. But I gave them no rules, no limitations or restrictions”.
The chances of such a risky move actually succeeding seemed minuscule. Yet, the broadest pool of characters rose to the challenge, sharing their pain, anxieties, raw passion, wisdom, strength, refinement, grace and communal will to create pure art through This Endless Solitude. The roughly twenty guests on the album generously gave the music just what they believed it called upon them to express without holding back, thereby exceeding expectations and precipitating drastic transformation. Although Skei had temporarily surrendered control, he took matters firmly into his hands again as the contributions began trickling his way over the months that followed.
“As the collaborators submitted their contributions, I worked on shaping This Endless Solitude into a coherent whole”, Skei says. “It was quite an intense process in itself. But the end result more than made up for the doubts that surfaced”.
Skei is nothing short of a sorcerer when it comes to producing, engineering and arranging. His approaches may be unconventional, but no one achieves mixes and overall outcomes that more powerfully tug at our heartstrings, though we must acknowledge that the aforementioned Anna Murphy has also provided mixes of the highest caliber for Manes. Bit by bit, Skei would sculpt Holissstik’s first chapter to perfection. Worlds open, worlds collide; the spectral voices began twining around each other, a wealth of musical ideas and the said samples with seemingly supernatural effect, clawing their way into a permanent position within listeners’ psyches. While remaining true to their essences, the compositions would evolve in the exact manner of a living organism, in unforeseen and thrilling ways until they reached the point at which further modification would prove folly; ultimately, the miraculously cohesive This Endless Solitude assumed the form that seemed destined. It was then entrusted to Skei’s go-to choice for mastering Knut Prytz (ex-Necrophagia).
The result of This Endless Solitude and that which lies ahead is phantasmagorical wonder, lethal beauty and boundless darkness. Holissstik’s delirium-inducing, absinthine potions threaten to profoundly transform, and perhaps even transfigure, listeners; Holissstik equates to an unfathomably rewarding drug, though it will emotionally overload sentient beings. There is no denying the dangerous spiritual intensity within Holissstik’s hallucinatory soundscapes — dreams that bring audiences to and from the abysmal realm of nightmares. Impregnated with cerebral and poetic qualities, Holissstik provides a cinematic journey, repeatedly invoking primal horror and forever hooking us with suspenseful energy. The mystery of what the music communicates often gives way to melancholic meditations. We never pierce the veil of enigma surrounding Holissstik, rather we drown in the layers of sound, dragging us down into the scandal-infested depths of our own heavy consciousnesses. Holissstik bears parallels to classical music in terms of its inward impact and transcendent nature.
Stylistically, many will perceive elements of nearly every genre under the sun within This Endless Solitude: jazz, trip hop, rock, metal, ambient, avant-garde, pop. However, trying to attach labels to Holissstik would be foolishness. Electronics are superbly implemented within Holissstik, yet the music somehow always retains its organic charm. Skei doubles as a tech wizard, and he twists his expertise in the fields of programming and software development to his advantage for musical purposes. He always strikes the ideal balance between awakening a sense of unbearable loneliness partly by way of technology, frequently amplifying the robotic coldness it can engender, and the human component in all of its sometimes warmly reassuring, mood-driven nuances. Calculation and spontaneity are both accorded their proper place.
This EndlessSolitude proudly showcases artists who have worked with Skei in several other contexts and capacities as well as completely new collaborators. Anna Murphy, a household name within the music community, graces the album with her seductive, otherworldly vocals. Her fellow goddesses, the criminally gifted Marita Hellem and Rage of Light’s Martyna Halas, a masterful lyricist who offers her “heart of pure gold,” likewise deliver some of the most gorgeous vocals imaginable, deranging our senses with their oracular allure. Torstein Parelius, who has always played a crucial role in neo-Manes’ music and concepts, assists on bass and with lyrics.
Besides Hellem, Murphy and Parelius, the other members of Manes’ core and extended family who contribute to Holissstik include Atrox’s Eivind Fjøseide, ex-Atrox’s Tor-Arne Helgesen, The Third and the Mortal’s Rune Hoemsnes, Drontheim’s Tom Christian Engelsøy and Atrox’s Rune Folgerø. Holissstik also welcomed involvement from Kristoffer Oustad of Kristoffer Nyströms Orkester, Plague Machinery and formerly V:28; Christophe Denhez of Område and Ecr.Linf; rapper Pierre Ripka, or “K-rip”; Nik Košar of Kamra; Gabriel Trentini of Luce d’Inverno and Malaflame; rocker and engineering guru Stig Waltoft, a.k.a. “FluffyBunnyFeets”; and Trond Johansen. Not to mention, Buddhist monks were even persuaded to contribute chanting. While This Endless Solitude is mostly in English, it also features Pali, French, Polish and Italian.
Although the very nature of Holissstik demands that we expect the unexpected, the collective’s future certainly seems to guarantee obsidian horizons and torrential deluges of artistic truth. In other words, the project promises to persistently and ritualistically pummel us with devastating yet necessary, epic masterworks. Skei and his collaborators truly present the most immersive experiences possible and, in Manes language, offer a safe place in the unsafe; dive in with your hands bound, and be submerged within the imprisoning brilliance. Skei continues to participate in a range of outstanding groups, and yet Holissstik stands as the most unpredictable and, counterintuitive as it might sound, accessible undertaking in the history of his illustrious career.
Lineup Tor-Helge Skei
Guest musicians Anna Murphy – Vocals on “Obsession Six” Christophe Denhez – Guitars on “The Rhythm of Silence”, Guitars, vocals and lyrics on “Behind Me” Eivind Fjøseide – Guitars on all songs except “Projections” Gabriel Trentini – Vocals and lyrics on “Obsession Six” Kristoffer Oustad – Synth on “The Rhythm of Silence”, “Projections”, “Reoccuring Dreams”, “This Endless Solitude” Tor-Arne Helgesen – Drums on all songs except “Behind Me” and “This Endless Solitude” Marita Hellem – Vocals on “The Rhythm of Silence” and “This Endless Solitude” Martyna Halas – Vocals and lyrics on “The Rhythm of Silence”, “My Salvation”, “Would You Take This Heart” and “This Endless Solitude” Nik Košar – Vocals and lyrics on “Projections” and “Reoccuring Dreams” Pierre Ripka – Vocals and lyrics on “The Rhythm of Silence” Paritta Monks – Chanting on “Would You Take This Heart” Rune Folgerø – Vocals on “This Endless Solitude” Rune Hoemsnes – Drums on “Behind Me” Stig Waltoft – Synth and sounds on “Would You Take This Heart” Tom Engelsøy – Vocals on “Obsession Six” Torstein Parelius – Bass on “Behind Me” and “This Endless Solitude”, lyrics on “This Endless Solitude” Trond Johansen – Guitars on “Would You Take This Heart”
Production credits Recorded, produced and mixed by Tor-Helge Skei Mastered by Knut V. Prytz
Songwriting credits All songwriting and arrangements by Tor-Helge Skei
FERALIA have unveiled their new single “Ballata Avernale”, now streaming exclusively through a premiere hosted by No Clean Singing. The track is taken from the band’s forthcoming third full-length album, “Ultima Requies”, set for release on June 26, 2026 via ATMF.
With “Ballata Avernale”, FERALIA offer a compelling glimpse into the atmosphere and artistic direction of the new record. The song combines harsh and earthy black metal textures with a solemn, almost liturgical sense of grandeur, reflecting the band’s fascination with death, memory and the sacred dimensions of the ancient world. Moving between moments of fierce intensity and contemplative passages, the track captures the balance between ritualistic darkness and emotional depth that lies at the heart of “Ultima Requies”.
With this third full-length, FERALIA delve deeper into their singular vision of Black Metal, forging a work that resists easy categorization. “Ultima Requies” is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual.
The sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world. Each composition unfolds as a passage, evoking forgotten rites, liminal states and the tension between life and death, presence and absence.
The artwork of “Ultima Requies” reflects this vision, depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan. A figure feared even by the gods, Erichto was said to raise fallen soldiers from the battlefield during one of the most turbulent phases of Roman civil war. This imagery embodies the album’s core: a confrontation with death not as an end, but as a threshold to forbidden knowledge.
Following the path opened by “Helios Manifesto” and “Under Stige / Over Dianam”, FERALIA further refine their language, balancing raw intensity with a deeply contemplative undercurrent. The result is an album that feels both immediate and timeless, grounded in the physicality of Black Metal yet reaching toward something intangible and eternal.
Hard rock supergroup Iconic – featuring Michael Sweet (guitars), Joel Hoekstra (guitars), Marco Mendoza (bass), Tommy Aldridge (drums), and Nathan James (vocals) – have unveiled today a new track, “Take Me To The Place”, ahead of the release of their upcoming sophomore album “II”, scheduled for July 31, 2026, via Frontiers Music Srl.
Michael Sweet commented: “Take Me To The Place” is once again, a song that takes you back to the past. The whole point of this band/album is to remind people of the power of classic rock. Some of the greatest music came out of the 70’s/80’s and we’re very proud to be able to continue waving that flag and carrying the torch!”
“It was great fun to riff away to trade leads with Michael Sweet on this one. Nathan James is belting away and the classic rock vibes are omnipresent. Hopefully you all like it as much as we liked recording it!”, added Joel Hoekstra.
Marco Mendoza also said: “Another great song coming from all the talent in this band… Michael and Joel killing it, Nathan sounding great and delivering big time… Tommy driving!!!”
Iconic return with “II”, a second album that doesn’t just continue the band’s journey – it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock.
At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless.
The album kicks off with “Cry No More”, a high-octane opener that immediately sets the tone – an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick.
On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion.
Towering above it all is Nathan James, whose performance on “II” is nothing short of extraordinary – powerful, soulful, and commanding, elevating every track with unmistakable presence.
With bigger riffs, deeper grooves, and a stronger sense of identity, “II” captures Iconic at full force: a band no longer introducing itself but fully owning its sound.
With just days to wait now before the ultimate tribute to Ritchie Blackmore’s Rainbow, Ride The Rainbow, touches down on June 19, Cleopatra Records are proud to unleash the final single from the set, and they might just have saved the best until last.
Sebastian Bach, the former Skid Row and Big Noize hero who now leads Twisted Sister, fronts a devastating performance of “Man On The Silver Mountain” – originally a cut from Rainbow’s epochal debut album, back in 1975, but a concert favorite for years thereafter.
Rainbow’s own Bob Daisley, Uriah Heep’s Mick Box, Journey’s Jonathan Cain and Whitesnake’s Doug Aldrich complete the line-up, alongside the super-legendary Carmine Appice (Vanilla Fudge, Cactus, Beck Bogert & Appice, Rod Stewart etc) – who reveals that he was almost in Rainbow himself!
“I was supposed to be in Rainbow back in the day. Ritchie asked me to be in it, but I couldn’t do it, so I was very pleased to play on this track. I love all the musicians, too – they are all fantastic players and all good friends .So this track kicks ass!”
Jonathan Cain, too, has only the happiest memories of Rainbow. “When Cleopatra asked me to play on a Rainbow Tribute project, I was excited to add my keyboards to it. Rainbow with Ronnie James Dio were one of the truly melodic and memorable metal bands. I got to party with him towards the end of his touring days after a Sweden Rock Festival. His soaring voice and melodies will be remembered for decades to come.”
Ride The Rainbow itself is an absolutely star-studded journey through the many faces of the Ritchie Blackmore-led legend, with stunning performances from no fewer than six Rainbow alumni – Daisley is joined on the album by Ronnie Romero, Graham Bonnet, Don Airey, Joe Lynn Turner and Doogie White! Plus Steve Morse (Blackmore’s successor in Deep Purple), and Ritchie’s Blackmore’s Night partner Candice Night,. As the subtitle says, it truly is “The Ultimate Tribute To Ritchie Blackmore’s Rainbow.”
1. Long Live Rock ’n’ Roll – Bob Daisley, Graham Bonnet, Ron “Bumblefoot” Thal, Carmine Appice, Don Airey 2. Man on the Silver Mountain – Sebastian Bach, Doug Aldrich, Bob Daisley, Carmine Appice, Mick Box, Jonathan Cain 3. Stargazer – Derek Sherinian, Marty Friedman, Vinny Appice, Jürgen Engler, Joe Bouchard, Ronnie Romero 4. Lady of the Lake – Angel 5. Rainbow Eyes – Mike Tramp 6. Since You Been Gone – Marty Friedman, Vinny Appice, Graham Bonnet, Jürgen Engler 7. Kill the King – Rick Wakeman, Bob Daisley, Vinnie Moore, Marc Lopes, Chris Adler 8. The Temple of the King – Steve Morse, Phil Soussan, Ronnie Romero, Simon Wright, Jonathan Cain, Kevin James Morse 9. Jealous Lover – George Lynch, Vinny Appice, Andrew Freeman, David Ellefson, Jonathan Cain 10. I Surrender – Eric Gales, Tim “Ripper” Owens, Phil Soussan, Don Airey, Chris Adler 11. Catch the Rainbow – Doogie White, Derek Sherinian, Chris Poland, Vinny Appice, Bob Daisley 12. Street of Dreams – Paul Shortino, Joel Hoekstra, Joe Bouchard, Fred Aching, Jonathan Cain 13. Stone Cold – Vivian Campbell, Joe Lynn Turner 14. I Surrender – Marcus Nand, Candice Night
Ancient spirits come alive as SKÁLD extend an invitation into times long gone but not forgotten. Ørlǫg, coming September 25, 2026, is the French band’s first album via Austrian label juggernaut Napalm Records, and it is our destiny. As the Norns weave our future, this album is a fascinating passageway into our pristine origins and the consequences of our choices. Inspired by Skaldic poetry, SKÁLD use instruments fitting of the time: Ørlǫg is shaped by Nordic fiddles, different forms of harps and lyres, horns, kannels, and whistles, among others, as well as three lead vocalists to bring the arrangements to life. Ten new songs as stepping stones, Ørlǫg is an offering to listen, to dwell, to reflect—and to find something within yourself previously unknown. SKÁLD don’t just play music, they awaken ancient ways.
SKÁLD about the signing: “Signing with Napalm Records is a really exciting step, the band has never been so united and this strong partnership with the label makes us even stronger. It was undoubtedly meant to be, and Ørlǫg is the perfect album to make it happen. We can’t wait to see where this shared vision takes us.”
Napalm Records Senior A&R Sebastian Münch about the signing: “SKÁLD have a remarkable way of bringing Nordic folklore and mythology to life through their music. Their new album, Ørlǫg, is a fantastic release that both longtime fans and those discovering the band for the first time are sure to enjoy. I’m thrilled to be working with SKÁLD and can’t wait to see what we can achieve together with Napalm Records.”
Along with the album announcement comes the first single: “Draumakona” opens up the atmospheric journey into Ørlǫg with an expressive look at the female side of shamanic prophecy. Lyrically focusing on dreamscapes, the French band constructs their Nordic folk melodies to be particularly catchy to pull listeners right into their world, shifting powerfully between female lead singing and multilayered vocal arrangements to create an antiphony between individuum and community.
SKÁLD about “Draumakona”: “‘Draumakona’ explores the unique role women play in divination and shamanic vision; the Norns, who weave the destinies of gods and mortals, support this perspective. Everyone wants to know what their future holds and may wait for it to be revealed to them, but to truly know, one must confront oneself, travel far and wide, not fear the different worlds, and listen to one’s dreams.”
A staple band in the genre, SKÁLD deliver a striking work of art with their latest album, deferentially using their sources to keep old spirits alive and form the enchanting world of Ørlǫg. The language might sound unfamiliar, but the music still touches the soul.
SKÁLD about Ørlǫg: “Ørlǫg is the cosmic web that influences the world and every person. Part of our Ørlǫg is determined by our birth, our past actions, and our upbringing, but Ørlǫg is not set in stone; our daily choices are constantly shaping it. What we do now and what we have done in the past determines what will happen to us in the future; we cannot escape the consequences of our actions. This album makes us question our choices—both individual and collective—and the patterns we accept or reject. The Norns weave our destiny, but we can take control of certain things: travel, ride worlds, and grow. Each song on this album describes a situation, a place, a choice to be made. Let’s take hold of our Ørlǫg.”
The atmospheric journey to claim direction starts within the dreamscapes of “Draumakona”, an expressive look at the female side of shamanic prophecy. The French band constructs their Nordic folk melodies to be particularly catchy, shifting powerfully between female lead singing and multilayered vocal arrangements to create an antiphony between individuum and community. Inspired by Skaldic poetry, SKÁLD use instruments fitting of the time: Ørlǫg is shaped by Nordic fiddles, different forms of harps and lyres, horns, kannels, and whistles, among others, as well as three lead vocalists to bring the arrangements to life. “Myrkviðr” picks up on the opening track’s persuasive energy, with male vocals taking the lead this time. Further spreading their message is “Ratatoskr”, intonated by clattering sounds and throat singing, channeled into hauntingly repetitive chants of the eponymous squirrel’s name.
For “Dǫkksalir”, SKÁLD unwind their melodies to form a gentle song, sweet-talking almost like a lullaby—and therefore fitting the concept of the charming yet also frightening sirens lurking in the dark. “Útgarðr” contrasts the different voices compellingly by the passages being sung simultaneously with alternating focus and a goosebump-inducing climax—instantly opposed by “Ek skald rida” which makes use of similar techniques, but is the most tranquil track on the album. “Himinbjǫrg” reaches far out to the edge of Asgard, where Heimdall guards the rainbow bridge, Bifröst. SKÁLD lend him an assertive voice, so the song serves as an emphatic yet reassuring guide through our sometimes-clouded destiny. “Heiemo og Nykkjen”, a rendition of a traditional medieval folk ballad from what is now Norway, takes a more provident approach to both instrumentation and vocal delivery, while “Veit barnit” calls upon the knowledge of children and uses a child’s voice alongside their usual harmonies to reflect that. The grim finale, “Eldr ok iss”, Old Norse for “fire and ice”, again calls on contrasts as well as referencing part of the creation myth in which the primordial being Ymir emerged from Muspelheim—the realm of fire—colliding with icy Nilfheim in the beginning of times. SKÁLD build an appropriate arc of suspense with a formidably sinister atmosphere.
Ørlǫg tracklisting:
Draumakona
Myrkviðr
Ratatoskr
Dǫkksalir
Útgarðr
Ek skald rida
Himinbjǫrg
Heiemo og Nykkjen
Veit barnit
Eldr ok iss
SKÁLD Live 2026
Summer European Tour 18.06.26 FR – Clisson / Hellfest Open Air 20.06.26 PL – Poznan / Pyrkon Fantasy Festival 17.07.26 DE – Dresden / Weisser Hirsch Open Air (w/ FAUN) 18.07.26 DE – Regensburg / Piazza Festival (w/ FAUN) 19.07.26 PL – Bolków / Castle Party 21.07.26 CH – Nyon / Paléo Festival 30.07.26 NL – Lisse / Castlefest 15.08.26 NO – Borre / Midgardsblot 30.08.26 AT – Graz / Kasematten (w/ FAUN)
North America Tour 26.06.26 US – Denver, CO / Marquis 27.06.26 US – Farmington, NM / Locke Street 28.06.26 US – Phoenix, AZ / Crescent Ballroom 29.06.26 US – Los Angeles, CA / Lodge Room 30.06.26 US – San Diego, CA / Brick By Brick 01.07.26 US – San Jose, CA / The Ritz 02.07.26 US – Portland, OR / Hawthorne Theatre 03.07.26 US – Seattle, WA / El Corazon 04.07.26 CA – Vancouver, BC / Rickshaw Theatre 06.07.26 CA – Calgary, AB / Dickens 07.07.26 CA – Edmonton, AB / Starlite Room 09.07.26 CA – Winnipeg, MB / Park Theatre 10.07.26 US – Minneapolis, MN / Turf Club 11.07.26 US – Chicago, IL / Reggies 12.07.26 US – Detroit, MI / Sanctuary 13.07.26 CA – Toronto, ON / TD Music Hall 14.07.26 CA – Montreal, QC / Fairmount Theatre
Warrior Chant Tour As Special Guest for The Hu 29.09.26 UK – Glasgow / O2 Academy 01.10.26 UK – Bristol / Prospect Building 02.10.26 UK – Bournemouth / O2 Academy 03.10.26 UK – Newcastle / O2 City Hall 05.10.26 UK – Belfast / The Telegraph Building 06.10.26 IE – Dublin / 3Olympia Theatre 08.10.26 UK – Birmingham / O2 Academy Birmingham 09.10.26 UK – London / O2 Academy Brixton 10.10.26 UK – Manchester / O2 Apollo 11.10.26 UK – Norwich / UEA LCR 14.10.26 BE – Brussels / Ancienne Belgique 15.10.26 DE – Hamburg / Sporthalle 17.10.26 DE – Munich / Tonhalle 18.10.26 DE – Berlin / Columbiahalle 19.10.26 PL – Warsaw / Stodola 20.10.26 PL – Warsaw / Stodola 22.10.26 DE – Cologne / Palladium 23.10.26 NL – Utrecht / TivoliVredenburg 24.10.26 NL – Tilburg / 013 27.10.26 FR – Lyon / Le Radiant 28.10.26 FR – Paris / L’Olympia 30.10.26 CH – Zurich / X-TRA 31.10.26 LU – Esch-sur-Alzette / Rockhal
SKÁLD are: Christophe Voisin Boisvinet – Percussion, Nordic Fiddles, Harp, Horn, Vocals, Programming Marti Ilmar Uibo – Percussion, Lyre, Kannel, Whistles, Jaw Harp, Vocals Steeve Petit – Percussion, Vocals Marie Potosniak – Fiddles, Vocals Guillaume Levy – Irish Bouzouki, Citole, Gudok Nathalie Lemoye-Voisin – Vocals Ravn – Moraharpa Michel Abraham – Vocals Eyline Uibo – Vocals
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
